_____THE PHANTOM of the Opera_____
______RottenTomatoes Tracking______

http://www.rottentomatoes.com/m/phantom_of_the_opera/



12/12/2004 - ROTTEN 40% - 5 Reviews (2 Fresh + 3 Rotten) - Avg. Rating = 4.6/10
17/12/2004 - ROTTEN 38% - 13 Reviews (5 Fresh + 8 Rotten) - Avg. Rating = 4.9/10
18/12/2004 - ROTTEN 38% - 13 Reviews (5 Fresh + 8 Rotten) - Avg. Rating = 5.1/10
19/12/2004 - ROTTEN 41% - 17 Reviews (7 Fresh + 10 Rotten) - Avg. Rating = 5.1/10
20/12/2004 - ROTTEN 41% - 17 Reviews (7 Fresh + 10 Rotten) - Avg. Rating = 5.1/10
22/12/2004 - ROTTEN 43% - 46 Reviews (20 Fresh + 26 Rotten) - Avg. Rating = 5.5/10
23/12/2004 - ROTTEN 41% - 71 Reviews (29 Fresh + 42 Rotten) - Avg. Rating = 5.3/10
23/12/2004 - ROTTEN 39% - 98 Reviews (38 Fresh + 60 Rotten) - Avg. Rating = 5.3/10
24/12/2004 - ROTTEN 39% - 102 Reviews (40 Fresh + 62 Rotten) - Avg. Rating = 5.3/10
25/12/2004 - ROTTEN 39% - 102 Reviews (40 Fresh + 62 Rotten) - Avg. Rating = 5.3/10
27/12/2004 - ROTTEN 38% - 102 Reviews (40 Fresh + 64 Rotten) - Avg. Rating = 5.3/10
28/12/2004 - ROTTEN 38% - 109 Reviews (41 Fresh + 68 Rotten) - Avg. Rating = 5.3/10
29/12/2004 - ROTTEN 37% - 111 Reviews (41 Fresh + 70 Rotten) - Avg. Rating = 5.2/10
30/12/2004 - ROTTEN 37% - 112 Reviews (41 Fresh + 71 Rotten) - Avg. Rating = 5.2/10
31/12/2004 - ROTTEN 37% - 112 Reviews (41 Fresh + 71 Rotten) - Avg. Rating = 5.2/10

1/1/2005 - ROTTEN 37% - 112 Reviews (42 Fresh + 72 Rotten) - Avg. Rating = 5.2/10
2//2005 - ROTTEN 37% - 116 Reviews (43 Fresh + 73 Rotten) - Avg. Rating = 5.2/10
3//2005 - ROTTEN 36% - 120 Reviews (43 Fresh + 77 Rotten) - Avg. Rating = 5.1/10
4/1/2005 - ROTTEN 36% - 121 Reviews (44 Fresh + 77 Rotten) - Avg. Rating = 5.1/10
5/1/2005 - ROTTEN 37% - 125 Reviews (46 Fresh + 79 Rotten) - Avg. Rating = 5.2/10
6/1/2005 - ROTTEN 37% - 125 Reviews (46 Fresh + 79 Rotten) - Avg. Rating = 5.2/10
7/1/2005 - ROTTEN 37% - 126 Reviews (47 Fresh + 79 Rotten) - Avg. Rating = 5.2/10
8/1/2005 - ROTTEN 37% - 127 Reviews (47 Fresh + 80 Rotten) - Avg. Rating = 5.2/10
9/1/2005 - ROTTEN 37% - 127 Reviews (47 Fresh + 80 Rotten) - Avg. Rating = 5.2/10
10/1/2005 - ROTTEN 37% - 128 Reviews (47 Fresh + 81 Rotten) - Avg. Rating = 5.2/10
11/1/2005 - ROTTEN 37% - 128 Reviews (47 Fresh + 81 Rotten) - Avg. Rating = 5.2/10
12/1/2005 - ROTTEN 36% - 129 Reviews (47 Fresh + 82 Rotten) - Avg. Rating = 5.2/10
13/1/2005 - ROTTEN 36% - 129 Reviews (47 Fresh + 82 Rotten) - Avg. Rating = 5.2/10
14/1/2005 - ROTTEN 36% - 130 Reviews (47 Fresh + 83 Rotten) - Avg. Rating = 5.1/10
15/1/2005 - ROTTEN 36% - 130 Reviews (47 Fresh + 83 Rotten) - Avg. Rating = 5.1/10
16/1/2005 - ROTTEN 37% - 134 Reviews (49 Fresh + 85 Rotten) - Avg. Rating = 5.2/10
17/1/2005 - ROTTEN 36% - 135 Reviews (49 Fresh + 86 Rotten) - Avg. Rating = 5.1/10
18/1/2005 - ROTTEN 36% - 135 Reviews (49 Fresh + 86 Rotten) - Avg. Rating = 5.1/10
19/1/2005 - ROTTEN 36% - 135 Reviews (49 Fresh + 86 Rotten) - Avg. Rating = 5.1/10
20/1/2005 - ROTTEN 36% - 136 Reviews (49 Fresh + 87 Rotten) - Avg. Rating = 5.1/10
21/1/2005 - ROTTEN 36% - 136 Reviews (49 Fresh + 87 Rotten) - Avg. Rating = 5.1/10
22/1/2005 - ROTTEN 36% - 136 Reviews (49 Fresh + 87 Rotten) - Avg. Rating = 5.1/10
23/1/2005 - ROTTEN 36% - 136 Reviews (49 Fresh + 87 Rotten) - Avg. Rating = 5.1/10
24/1/2005 - ROTTEN 36% - 137 Reviews (49 Fresh + 88 Rotten) - Avg. Rating = 5.1/10
25/1/2005 - ROTTEN 36% - 139 Reviews (50 Fresh + 89 Rotten) - Avg. Rating = 5.1/10
26/1/2005 - ROTTEN 36% - 139 Reviews (50 Fresh + 89 Rotten) - Avg. Rating = 5.1/10
27/1/2005 - ROTTEN 36% - 139 Reviews (50 Fresh + 89 Rotten) - Avg. Rating = 5.1/10
28/1/2005 - ROTTEN 36% - 139 Reviews (50 Fresh + 89 Rotten) - Avg. Rating = 5.1/10
29/1/2005 - ROTTEN 35% - 141 Reviews (50 Fresh + 91 Rotten) - Avg. Rating = 5.1/10
30/1/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
31/1/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10

1/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
2/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
3/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
4/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
5/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
6/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
7/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
8/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
9/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
10/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
11/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
12/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
13/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
14/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
15/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
16/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
17/2/2005 - ROTTEN 35% - 142 Reviews (50 Fresh + 92 Rotten) - Avg. Rating = 5.1/10
18/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
19/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
20/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
21/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
22/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
23/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
24/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
25/2/2005 - ROTTEN 35% - 143 Reviews (50 Fresh + 93 Rotten) - Avg. Rating = 5.1/10
26/2/2005 - ROTTEN 35% - 144 Reviews (50 Fresh + 94 Rotten) - Avg. Rating = 5.1/10
27/2/2005 - ROTTEN 35% - 144 Reviews (50 Fresh + 94 Rotten) - Avg. Rating = 5.1/10

_____THE PHANTOM of the Opera_____
________MetaCritic Tracking________

http://www.metacritic.com/film/titles/p ... ftheopera/



23/12/2004 - 39 POINTS - 30 Revews - User Avg. Rating = 7.4/10
23/12/2004 - 39 POINTS - 30 Revews - User Avg. Rating = 7.8/10
24/12/2004 - 39 POINTS - 30 Revews - User Avg. Rating = 7.7/10 (18 votes)
25/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.6/10 (58 votes)
25/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.4/10 (60 votes)
26/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.4/10 (67 votes)
27/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.4/10 (74 votes)
28/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.3/10 (82 votes)
29/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.3/10 (82 votes)
30/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.3/10 (82 votes)
31/12/2004 - 39 POINTS - 37 Revews - User Avg. Rating = 8.3/10 (82 votes)

1/1/2005 - 40 POINTS - 37 Revews - User Avg. Rating = 7.9/10 (93 votes)
2/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 7.9/10 (93 votes)
4/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.1/10 (114 votes)
5/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (118 votes)
6/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (119 votes)
7/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (121 votes)
8/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (124 votes)
9/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (128 votes)
10/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (131 votes)
11/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (135 votes)
12/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.2/10 (138 votes)
13/1/2005 - 40 POINTS - 38 Revews - User Avg. Rating = 8.3/10 (140 votes)
14/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.3/10 (141 votes)
15/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (145 votes)
16/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (149 votes)
17/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (156 votes)
18/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (161 votes)
19/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (164 votes)
20/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (167 votes)
21/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (168 votes)
22/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (169 votes)
23/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (170 votes)
24/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (174 votes)
25/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (177 votes)
26/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (181 votes)
27/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (181 votes)
28/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (181 votes)
29/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (183 votes)
30/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (187 votes)
31/1/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (188 votes)

1/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (188 votes)
2/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (192 votes)
3/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (192 votes)
4/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (193 votes)
5/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (194 votes)
6/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (195 votes)
7/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (198 votes)
8/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (198 votes)
9/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (198 votes)
10/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (198 votes)
11/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (200 votes)
12/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (201 votes)
13/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (202 votes)
14/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (204 votes)
15/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (204 votes)
16/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (204 votes)
17/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (204 votes)
18/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (204 votes)
19/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (205 votes)
20/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (205 votes)
21/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.2/10 (207 votes)
21/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
22/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
23/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
24/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
25/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
26/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)
27/2/2005 - 40 POINTS - 39 Revews - User Avg. Rating = 8.1/10 (208 votes)

POTO: Weekend Rollout

Weekend 1:
Israel 10th Dec, 2004
South Korea 10th Dec, 2004 (tbc)
United Kingdom 10th Dec, 2004

Weekend 2:
Greece & Cyprus Dec 10th (1 screen), 2004 Dec 17th (wide)
Spain & Andorra 15th Dec, 2004
Germany 16th Dec, 2004
Malaysia 16th Dec (tbc)
Switzerland (German part) 16th Dec, 2004 (tbc)
Austria 17th Dec 2004
Italy 17th Dec, 2004 (tbc)

Weekend 3:
US Select cities 22nd Dec, 2004
Belgium 22nd Dec, 2004
Luxembourg 22nd Dec, 2004
Middle East 22nd Dec (tbc)
Portugal 23rd Dec (tbc)
Singapore 23rd Dec, 2004 (tbc)
Finland 25th Dec 2004 (tbc)
Sweden 25th Dec, 2004 (tbc)
Australia 26th Dec, 2004 (tbc)
Norway 26th Dec, 2004 (tbc)

Weekend 4:
Hong Kong 30th Dec, 2004 (tbc)

Weekend 5:
Holland 6th Jan, 2005
Russia 6th Jan, 2005 (tbc)
Baltic States 7th Jan, 2005 (tbc)
Poland 7th Jan, 2005 (tbc)
Taiwan 8th Jan, 2005 (tbc)

Weekend 6:
France 12th Jan, 2005 (tbc)
Switzerland (French part) 12th Jan, 2005 (tbc)
Poland 14th Jan, 2005
Denmark 14th Jan, 2005 (tbc)

Weekend 7:
US Nationwide
Mexico 21 Jan, 2005

Weekend 8:
Thailand 27th Jan, 2005
Ex-Yugoslavia 27th Jan, 2005 (tbc)
Indonesia 27th Jan, 2005 (tbc)
Japan 29th Jan, 2005

Others:

South Africa 4th Feb, 2005 (tbc)
Peru 10th Feb 2005
Colombia 11th Feb 2005
Venezuela 11th Feb 2005
Argentina 17th Feb, 2005
Chile 17th Feb, 2005
Czech/ Slovakia 17th Feb, 2005
Panama 18th Feb 2005 (tbc)

Icealand 4th Mar 2005
Hungary 17th March, 2005

Eastern Europe Q1, 2005
Turkey pending

A worthy Latino contingent faces strong competition

http://www.signonsandiego.com/news/feat ... atino.html

The other two Latino Oscar nominations are for "The Motorcycle Diaries," the story of the young Che Guevara – for Best Song, "Al Otro Lado del Río," written and performed by Uruguayan Jorge Drexler, and Best Adapted Screenplay for José Rivera.

Drexler's chances don't appear to be good (he's up against tunes from "Shrek 2," "The Polar Express, "The Chorus" and "The Phantom of the Opera") but he's nonetheless preparing his acceptance speech, "in case I've got to do a speaking part." Rivera has major competition from "Sideways," "Before Sunset," "Finding Neverland" and "Million Dollar Baby."

STAGE TO SCREEN: Looking Back at the Films of 2004

By Eric Grode
27 Feb 2005
http://www.playbill.com/news/article/91417.html



The year 2004 was a pretty good one for theatre-based films, at least in terms of quantity, and 2005 should at least rival it, with two entries already in theatres and several big-ticket items coming up. The quality of last year’s fare was a lot more varied, but there was plenty to enjoy along the way.

Two different documentaries took very satisfying looks at the world of the theatre, one from a distance and the other from deep within. The broad view came from Rick McKay’s “Broadway: The Golden Age,” which plunged audiences into a world of glitz, glamour and one mammoth show/performance after another, from Laurette Taylor in The Glass Menagerie to Ethel Merman in Gypsy. McKay enlisted the help of virtually every (then) living giant of the theatre world, from Stephen Sondheim to Uta Hagen to Al Hirschfeld, and if his own story is a little intrusive at the beginning and end, it’s hard to begrudge someone his love of the form when it results in something this enjoyable. “This So-Called Disaster” had plenty of its own celebrities (Sam Shepard, Nick Nolte, Woody Harrelson), all of whom united in 2000 to put on the premiere of Shepard’s The Late Henry Moss in San Francisco. With the passing of Arthur Miller, Shepard is in extremely rare company as a titan of American theatre, and director Michael Almereyda has provided a scrappy, intimate look at how the reticent playwright picks at some fairly deep scabs in order to create the fractured families that have become his trademark.

The backstage life also popped up in several fictional efforts, with the results ranging from worthy (“Stage Beauty”) to embarrassing (“De Lovely”) to, well, big (“Phantom of the Opera”). “De-Lovely” has already sunk into deserved obscurity, and “Phantom” is doing well enough to keep Hollywood from abandoning movie musicals just yet. It and “Stage Beauty” were both stage adaptations, as was the Oscar-nominated “Finding Neverland.” Of the three, only “Neverland” balanced insider savvy with a sufficiently engaging theme—it’s one of those tearjerkers you don’t even try to begrudge for being so effective—but the other two offered compelling work from the Broadway-bound Billy Crudup (The Pillowman) and Emmy Rossum, respectively.

Beyonce to sing for Webber at the Oscars:

http://www.newkerala.com/news-daily/new ... s&id=78459

[Hollywood News]: London, Feb. 27: US pop star Beyonce Knowles will perform a song from Lord Andrew Lloyd Webber 's film at the Oscars this Sunday.

Lord Lloyd-Webber, who previously won an Academy Award for Evita, has been nominated for the track Learn To Be Lonely, which closes his film which is an adaptation of The Phantom Of The Opera. Beyonce is reported to have demanded several improvisations in the song for the performance to suit her voice.

"I'm going to be playing the song for Beyonce, which is going to be quite fun," The Sun quoted Lord Lloyd-Webber as saying to BBC Breakfast.

"She's terrific. She does it slightly differently, with an orchestra", he says about Beyonce.

"To be even nominated for an Oscar is extraordinary. We were very lucky the first time round, I'm not so sure about this one. I've been very excited about working on this film, because young people are being turned on to musicals on film," he added.

The next film project of his will be Sunset Boulevard, which he expects, may pioneer a new genre for the silver screen.(ANI)

AWARD SCHEDULE: The Road to Oscar

http://www.forums-oscarwatch.com/forums ... adid=19252

30th November - Independant Spirit Award Nominations
1st December - National Board of Review Winners Announced
11th December - Los Angelas Film Critics Award
11th December - New York Online Film Critics Award
12th December - BFCA Nominations Announced
13th December - Golden Globe Nominations Announced
13th December - New York Film Critics Winners Announced
5th January - Dallas Fort Worth Film Critics Winners Announced
5th January - Producers Guild of America Nominations Announced
6th January - Director's Guild of America Nominations Announced
6th January - Las Vegas Film Critics Winners Announced
7th January - Florida Film Critics Winners Announed
8th January - National Society Of Film Critics Nominee's Announced
10th January - BFCA Winners Announced
11th January - Screen Actor's Guild Nominations Announced
12th January - American Society of Cinematographers Nominations Announced
13th January - Writer's Guild of America Nominations Announed
13th January - Art Director's Guild Nominations Announced
14th January - American Cinema Editor's Nominations Announced
16th January - Golden Globe Winners Announced
19th January - BAFTA Nominations Announced
20th January - Cinema Audio Society Nominations Announced
22nd January - Producers Guild Of America Winners Announced
23rd January - Golden Satellite Awards Winners Announced - NOMINTED (11) - LOST
25th January - 77th Oscar Nominations
29th January - Director's Guild Of America Winners Announced
5th February - Screen Actor's Guild Winners Announced
5th February - Empire Film Magazine Winners Announced
11th February - London Film Critics Winners Announced - NOMINATED - LOST
12th February - BAFTA Winners Announced
12th February - Art Director's Guild Winners Announced - NOMINTED - LOST
15th February - American Society of Cinematographer's Winners Announced
16th February - Visual Effects Society Winners Announced - NOMINATED - LOST
19th February - Writer's Guild of America Winners Announced
19th February - Costume Designers Guild Winners Announced - NOMINATED - LOST
20th February - American Cinema Editor's Winners Announced
22nd February - Oscar Ballot's Close

26th February - ISA Winners Announced
27th February - 77th Annual Academy Awards

____The Phantom of the Opera____
___Award Wins & Nominations___

WINS:

National Board of Review - WIN - Best Breakthrough Female (Emmy Rossum)
SanDiego Film Critics - WIN (Tie) - Best Cinematography (John Mathieson)
Broadcast Film Critics Awards (2004) - WIN - Best Young Actress (Emmy Rossum)
Moviefone Moviegoer Awards - WIN - Best Rising Star (Emmy Rossum - Phantom/TDAT)

NOMINATIONS:

Golden Satellite Awards (9th) - 11 NOMINATIONS - LOST
Golden Globes (62nd) - 3 NOMINATIONS - LOST
Broadcast Film Critics Awards (2004) - 2 NOMINATIONS (Picture, Young Actress) - LOST 1
London Film Critics - 1 NOMINATION (Supporting Actress) - LOST
Online Film Critics - 1 NOMINATION (Breakthrough Performance - Emmy Rossum) - LOST
Costume Designers Guild - 1 NOMINATION (Fantasy/Period) - LOST
Visual Effects Society (3rd) - 2 NOMINATIONS (Created Environment, Compositing) - LOST
Art Director's Guild - 1 NOMINATION (Period or Fantasy Film) - LOST
Moviefone Moviegoer Awards - 1 NOMINATION (Hottest Rising Star - Emmy Rossum - Phantom/TDAT) - WIN
Academy Awards (77th) - 3 NOMINATIONS (Art Direction, Cinematography, Song)
Online Film & Television Academy - 4 NOMINATIONS (Breakthrough Female, Adapted Song, Art Direction, Costume) - LOST
Saturn Awards (31st) - 3 NOMINATIONS (Action/Adventure, Young Actor, Costume)

CONSIDERED:

BAFTAs - 6 Categories - LOST

FAN/FORUM Awards:

NOM - International Online Critics Awards (INOCA) - 4 NOMINATIONS (Art Direction, Costume, Song, Breakthrough)
NOM - GoldeDerby Film Awards - 4 NOMINATIONS (Art Direction, Costume, Song, Breakthrough)
NOM - World of KJ (WOKJ) Forum Awards - 3 NOMINATIONS (Art Direction, Costume, Song)

ACADEMY AWARDS - Almost HERE!!!!!!!!

_________ARCHANGEL Presents_________
_____The History of Musicals in Film_____



http://www.filmsite.org/
http://www.musicals101.com/musical.htm

What Is A Musical?

musical (noun) – a stage, television or film production utilizing popular-style songs and dialogue to either tell a story (book musicals) and/or showcase the talents of varied performers (revues).

An American in Paris (1951)

Box Office = $4,500,000 (3rd highest grossing film that year)



An American in Paris (1951) is one of the greatest, most elegant, and most celebrated of MGM's 50's musicals, with Gershwin lyrics and musical score (lyrics by Ira and music by composer George from some of their compositions of the 20s and 30s), lavish sets and costumes, tremendous Technicolor cinematography, and a romantic love story set to music and dance. Gene Kelly served as the film's principal star, singer, athletically-exuberant dancer and energetic choreographer - he even directed the sequence surrounding "Embraceable You." The entire film glorifies the joie de vivre of Paris, but it was shot on MGM's sound stages in California, except for a few opening, establishing shots of the scenic city. Nonetheless, it remains one of the most optimistic American films of the post-war period - with Paris at its center.

It is an integrated musical, meaning that the songs and dances blend perfectly with the story. As in many musicals, the plot of this film is not its most important element. One of the film's highlights is its impressive finale - an ambitious, colorful, imaginative, 13 minute avante-garde "dream ballet" costing a half million dollars to produce. The pretentious sequence, featuring an Impressionistic period daydream in the style of various painters, is one of the longest uninterrupted dance sequences of any Hollywood film, and features the music of George Gershwin.



Like the Impressionist and post-Impressionist canvases from which it drew its inspiration, the superb ballet that climaxed An American In Paris was full of light and movement. . .it was 18 minutes of screen magic, unsurpassed in the boldness of its design and the dazzle of its execution." - Clive Hirschhorn, The Hollywood Musical

"Count a bewitching French lassie by the name of Leslie Caron and a whoop-de-do ballet number, one of the finest ever put upon the screen, as the most commendable enchantments of this big, lavish musical." - Bosley Crowther, The New York Times

"Too fancy and overblown. . .but the two dancing lovers have infectious grins and the Gershwin music keeps everything good-spirited." - Pauline Kael, 5001 Nights At The Movies

An American in Paris (1951)



1952 Academy Awards: 8 Nominations – 6 Wins
WON - Best Picture
WON - Best Art Direction-Set Decoration, Color
WON - Best Cinematography, Color
WON - Best Costume Design, Color
WON - Best Music, Scoring of a Musical Picture
WON - Best Writing, Story and Screenplay

NOM - Best Director - Vincente Minnelli
NOM - Best Film Editing

1952 Golden Globes: 3 Nominations – 1 Win
WON - Best Motion Picture - Musical/Comedy

NOM - Best Director - Vincente Minnelli
NOM - Best Motion Picture Actor - Comedy/Musical - Gene Kelly

1963 BAFTA Awards - 1 Nomination - 0 Wins
NOM - Best Film from any Source - USA

1962 Guild Awards of America
WON – Writers Guild of America (WGA) - Best Written American Musical

NOM – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures

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An American in Paris - and Gigi (1958), were among Minnelli's most successful films, and two rare nuggets of gold among MGM's Golden Age of Musicals. It was one of the few musicals ever voted Best Picture in Oscar history, and one of only a few Best Picture winners with no acting nominations.

Although Vincente Minnelli didn’t win Best Director, the film won for Best Picture, beating out other classics such as A Streetcar Name Desire and Quo Vadis. Gene Kelly’s Golden Globe nomination for Musical/Comedy didn’t make the cut; in a hot field which included Humphrey Bogart (WON – The African Queen), Arthur Kennedy, Clift Montgomery, Marlon Brando and Fredric March.

In an era where there are separate categories for black/white and color achievements, An American in Paris (color) split the techies with A Street Car Named Desire (black and white).

Singin’ in The Rain (1952)

Box Office = $3,600,000 (10th highest grossing film that year)
2002 Reissue = $120,420



Singin' in the Rain (1952) is one of the most-loved and celebrated film musicals of all time from MGM, before a mass exodus to filmed adaptations of Broadway plays emerged as a standard pattern. The joyous film, co-directed by Stanley Donen and acrobatic dancer-star-choreographer Gene Kelly, is a charming, up-beat, graceful and thoroughly enjoyable experience with great songs, lots of flashbacks, wonderful dances (including the spectacular Broadway Melody Ballet with leggy guest star Cyd Charisse), casting and story. This was another extraordinary example of the organic, 'integrated musical' in which the story's characters naturally express their emotions in the midst of their lives. Song and dance replace the dialogue, usually during moments of high spirits or passionate romance. And over half of the film - a 'let's put on a play' type of film, is composed of musical numbers.

This superb film, called "MGM's TECHNICOLOR Musical Treasure," was produced during MGM studios' creative pinnacle. Because the colorful, witty film is set in 1927, it humorously satirizes and parodies the panic surrounding the troubling transitional period from silents to talkies in the dream factory of Hollywood of the late 1920s as the sound revolution swept through. The film's screenplay, suggested by the song Singin' in the Rain that was written by Freed and Brown, was scripted by Betty Comden and Adolph Green (who also wrote On the Town (1949)).



". . .Singin' In The Rain. . .remains an undoubted masterpiece and the finest, most durable musical ever to come out of Hollywood. If the test of a great musical is that you can see it over and over again without longing for the dialogue to end and the musical numbers to begin, then Singin' In The Rain passes cum laude." - Clive Hirschhorn, The Hollywood Musical

"Though an inside-stuff yarn about filmdom, it's a backstage story with a difference; and the fact that Hollywood can laugh so heartily at itself, only adds to the film's appeal. Standout performances by Gene Kelly and Donald O'Connor, especially the latter." - Variety

". . .probably the most enjoyable of all American movie musicals. . .The film falters during a too-long love song on a deserted studio stage (later cut from some of the prints) and during a lavish oversize Broadway ballet, but these sequences don't seriously affect one's enjoyment." - Pauline Kael, 5001 Nights At The Movies

Singin’ in The Rain (1952)



1953 Academy Awards: 2 Nominations – 0 Wins
NOM - Best Actress in a Supporting Role - Jean Hagen
NOM - Best Music, Scoring of a Musical Picture

1953 Golden Globes: 2 Nominations – 1 Win
WON - Best Motion Picture Actor - Musical/Comedy - Donald O'Connor

NOM - Best Motion Picture - Musical/Comedy

1953 BAFTA Awards 1 Nomination - 0 Wins
NOM - Best Film from any Source - USA

1953 Guild Awards of America
WON – Writers Guild of America (WGA) - Best Written American Musical

NOM – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures

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One of those classics which didn’t register too well at the Awards, was basically ignored by film critics when released and treated with indifference (with box-office of $7.7 worldwide). It received only two Academy Award nominations - Best Supporting Actress (Jean Hagen), and Best Musical Score (Lennie Hayton) and didn't win any awards. The film's musical score Oscar nomination lost to Alfred Newman's score for With a Song in My Heart.

Now, after many accolades, television screenings, and its resurgence after the release of That's Entertainment (1974), it is often chosen as one of the all-time top ten American films, and generally considered Hollywood's greatest and finest screen musical.

Now consider that the 5 movies that were nominated that year, The Greatest Show on Earth (WON), High Noon, Ivanhoe, Moulin Rouge, The Quiet Man....honestly, besides Cecil B. DeMille’s masterpiece, has anyone really heard of the rest.

A Star Is Born (1954)

Box Office = $4,335,968



Warner Brothers' most masterful 1950s musical was built by another stellar team of MGM alumni: director George Cukor, screenwriter Moss Hart, composer Harold Arlen, lyricist Ira Gershwin and performer Judy Garland. Judy Garland's intense performance as the main character, probably the finest of her entire career, illuminates the film based upon Moss Hart's screenplay.

A Star is Born was based on a classic 1937 tearjerker about an unknown actress surviving Hollywood stardom and personal heartbreak. After months of long and tortured filming, Garland gave the most spontaneous and powerful screen performance of her career, while Cukor and company made "The Man That Got Away" and other songs emotional highpoints that fit seamlessly into the story.



Trivia

Actors considered for the role as Norman Maine include:
Laurence Olivier
Richard Burton
Tyrone Power
Cary Grant
James Stewart
Glenn Ford
Gregory Peck

Cary Grant was offered $450,000
William Powell was offered the role as the studio boss
The 'Born in a Trunk' sequence cost $250,000

A Star is Born (1954)



1955 Academy Awards: 6 Nominations – 0 Wins
NOM - Best Actor in a Leading Role - James Mason
NOM - Best Actress in a Leading Role - Judy Garland
NOM - Best Art Direction-Set Decoration, Color
NOM - Best Costume Design, Color
NOM - Best Music, Original Song - For the song "The Man that Got Away"
NOM - Best Music, Scoring of a Musical Picture

1955 Golden Globes: 2 Nominations – 2 Wins
WON - Best Motion Picture Actor - Musical/Comedy - James Mason
WON - Best Motion Picture Actress - Musical/Comedy - Judy Garland

1956 BAFTA Awards: 1 Nomination – 0 Wins
NOM - Outstanding Directorial Achievement in Motion Pictures - George Cukor

1955 Guild Awards of America
NOM – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures
NOM – Writers Guild of America (WGA) - Best Written American Musical

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Ironically, the emotionally-intense film also hints at the real-life troubles and problems in the career of its female star during the film's making. A Star is Born is Judy Garland's great comeback-musical after MGM cancelled her contract in 1950. Predicted to win the Best Actress Oscar, Garland was devastated by the loss to Grace Kelly in an lesser role in The Country Girl.

The film was both a disappointment at the box-office and at awards time. In a year where Marlon Brando’s On The Waterfront swept with 8/12 Awards, the 6 nominations were unrewarded. And both director Cukor and screenplay author Moss Hart were neglected in the nominations.

The film, considered overlong at three hours, was drastically cut by Warners' film studio after its initial release. Painstaking restoration in the early 80s resulted in a revised, 170-minute version.

Oklahoma! (1955)



1956 Academy Awards: 4 Nominations – 2 Wins
WON - Best Music, Scoring of a Musical Picture
WON - Best Sound, Recording

NOM - Best Cinematography, Color
NOM - Best Film Editing

1956 Guild Awards of America
NOM – Writers Guild of America (WGA) - Best Written American Musicals

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Not one of the most awarded musicals in the 1955, it did go on to collect 2 Oscars from 4 nominations. The winner that year was Marty, with Oklahoma picking up half of the Sound/Music categories. It also competed against Guys & Dolls, which was nominated for 4 Oscars but lost them all.

Oklahoma! (1955)



Oklahoma! was the first of Rodgers & Hammerstein’s musical collaborations, and it changed the face of musical theater. Breaking from both traditional musical comedies and Gilbert & Sullivan style operettas — in which show-stopping production numbers and comedy came first and character and story were secondary — Oklahoma! for the first time placed lyrics and dance at the service of character and story development. With this inversion, Rodgers & Hammerstein created a distinctively modern dramatic form, the musical play. The humor, catchy now-famous songs, and perfect casting make this film adaptations one of the most enjoyable screen musicals of all time.



1955 New York Times Review
http://www.in70mm.com/newsletter/1995/4 ... review.htm

Photographed and projected in the new process known as Todd-AO, which reflects the images in color from a wide and deep Cinerama-like screen, the ever-popular operetta was presented before an invited audience at the Rivoli last night. It will be shown at two more invitation "premieres" tonight and tomorrow night. Then it begins its two-a-day public showings on Thursday at the Rivoli.

1955 Hollywood Reporter Article
http://www.in70mm.com/newsletter/1995/4 ... review.htm

"Oklahoma!" cost around $ 6.000.000. With the financing of the system, the Magna Corp. has around $ 11.000.000 total in this initial film, but it now looks like a small investment in comparison to the likely huge return "Okla." will bring.

King and I (1956)



The King and I, Richard Rodgers and Oscar Hammerstein's 1951Broadway musical hit, was based on Margaret Landon's book Anna and the King of Siam. Since 20th-Century-Fox had made a film version of the Landon book in 1946, that studio had first dibs on the movie adaptation of King and I. Deborah Kerr plays English widow Anna Leonowens, who comes to Siam in the 1860s to tutor the many wives and children of the country's progressive King (Yul Brynner, recreating his Broadway role-and winning an Oscar in the process).

Of all Rodgers and Hammerstein musicals put to film by 20th Century Fox, The King And I likely suffered from being the most "staged." Yet with help from the grand sets, lavish costumes and (perhaps most importantly) Yul Brynner, this film has become immortal.

King and I (1956)



1957 Academy Awards: 9 Nominations – 5 Wins
WON - Best Actor in a Leading Role - Yul Brynner
WON - Best Art Direction-Set Decoration, Color
WON - Best Costume Design, Color
WON - Best Music, Scoring of a Musical Picture
WON - Best Sound, Recording

NOM - Best Picture
NOM - Best Director - Walter Lang
NOM - Best Actress in a Leading Role - Deborah Kerr
NOM - Best Cinematography, Color

1957 Golden Globes: 4 Nominations – 2 Wins
WON - Best Motion Picture - Musical/Comedy
WON - Best Motion Picture Actress - Comedy/Musical - Deborah Kerr

NOM - Best Film Promoting International Understanding
NOM - Best Motion Picture Actor - Comedy/Musical - Yul Brynner

1957 Guild Awards of America
WON – Writers Guild of America (WGA) - Best Written American Musicals

NOM – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures

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Nominated for 9 Oscars, The King And I was the most nominated that year in a highly competitive field which included Around the World in 80 Days (8 nominations – 5 Wins) and Cecile B. DeMilles’ Ten Commandments (7 nominations – 1 Win). Although it was denied Best Picture by the Jules Vern adaptation, Yul Brynner did pick up Best Actor for his powerful performance and the movie did win 4 other technical categories.

Deborah Kerr faced stiff competition in the Best Actress race, which included famous names such as Katherine Hepburn (The Rainmaker), Nancy Kelly (The Bad Seed) and Carroll Baker (Baby Doll); however, all were beaten by Ingrid Bergman’s Anastacia.

Gigi (158)

Box Office = $7,300,000



Gigi was the biggest moneymaker Vincente Minnelli had in all his years at MGM, although it concedes nothing to 1950s notions of mass taste. The Lerner and Loewe musical was based on the real-life romance between a sugar heir and a courtesan in turn-of-the-century Paris, a relatively daring topic. Colette wrote the cynically nostalgic Gigi when she was almost 70, during the Occupation. It had been a modest French film in 1948, and soon after, Anita Loos persuaded the author to allow her to adapt it for the Broadway stage. Colette acted as a talent scout, recruiting an unknown Audrey Hepburn to play Gigi, and it was a success largely because of its radiant star.

Some of the film was photographed in Paris, in locations (like Maxim's) redressed by Beaton, their Belle Epoque interiors meticulously restored. MGM's tight budget demanded all of the Parisian locations be filmed in a month.



". . .Gigi was a stylish triumph from start to finish which sadly - but gloriously - marked the end of an era. . .If Gigi was one of Freed's finest achievements, it also showed Minnelli on top of his form. . .Musically, too, it was perfection. . ." - Clive Hirschhorn, The Hollywood Musical

"Gigi is not only a charming comprehension of the spicy confection of Colette, but it is also a lovely and lyrical enlargement upon that story's flavored mood and atmosphere." - The New York Times

Gigi (1958)



1959 Academy Awards: 9 Nominations – 9 Wins
WON - Best Picture
WON - Best Director - Vincente Minnelli
WON - Best Art Direction-Set Decoration, Black-and-White or Color
WON - Best Cinematography, Color
WON - Best Costume Design, Black-and-White or Color
WON - Best Film Editing
WON - Best Music, Original Song - For the song "Gigi"
WON - Best Music, Scoring of a Musical Picture
WON - Best Writing, Screenplay Based on Material from Another Medium

1960 BAFTA Awards: 1 Nomination – 0 Wins
NOM - Best Film from any Source - USA

1959 Golden Globes: 6 Nominations – 3 Wins
WON - Best Motion Picture - Musical
WON - Best Motion Picture Director - Vincente Minnelli
WON - Best Supporting Actress - Hermione Gingold

NOM – Best Motion Picture Actor - Comedy/Musical - Maurice Chevalier
NOM - Best Motion Picture Actor - Comedy/Musical - Louis Jourdan
NOM - Best Motion Picture Actress - Comedy/Musical - Leslie Caron

1959 Grammy Awards
WON - Best Soundtrack Album, Dramatic Picture Score or Original Cast

1959 Guild Awards of America
WON – Directors Guild of America (DGA) - Outstanding Directorial Achievement in Motion Pictures
WON – Writers Guild of America (WGA) - Best Written American Musicals

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1959 goes down in history as Gigi’s year, winning all major awards and guilds; and as we know it now, the equal-2nd largest sweep in Oscar History (behind ROTK and tying with Last Emperor). Surprisingly it achieved the Best Picture without the aid of any acting nominations, and strangely, the same could be said for Last Emperor and ROTK. Freaky huh. LOL

DISNEY's Golden Period I

Disney took Hollywood by storm in the early 1940s with animated hits like Pinocchio (1940), Fantasia (1940), Dumbo (1941) and Bambi (1942). The first Golden period of Disney animation was really in the 1950s with Lady and the Tramp (1955), Peter Pan (1953), and Cinderella (1950) being the top 3 grossing films of that decade. [Taking into account reissues and re-releases over the years as well as the original releases, the order of these top-grossing animated films of all time has been rearranged, placing Cinderella (1950) first, followed by Lady and the Tramp (1955) and then Peter Pan (1953).]

Although Disney made several live-action musicals in the 1960s (most notably Mary Poppins), animated musicals remained his forte right up to his final film, the acclaimed Jungle Book (1967)

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Cinderella (1950)

1950 BO Gross = $32,596,406
1987 Re-Issue = $34,101,149
1981 Re-Issue = $28,040,000



1951 Academy Awards: 3 Nominations – 0 Wins
NOM - Best Music, Original Song - For the song "Bibbidy-Bobbidi-Boo"
NOM - Best Music, Scoring of a Musical Picture
NOM - Best Sound, Recording



Cinderella was Walt Disney's return to feature-length "story" cartoons after eight years of turning out episodic pastiches like Make Mine Music and Three Caballeros. A few understandable liberties are taken with the original Charles Perrault fairy tale (the wicked stepsisters, for example, do not have their eyes pecked out by crows!) Otherwise, the story remains the same. Not as momentous an animated achievement as, say, Snow White or Fantasia, Cinderella is a nonetheless delightful feature, enhanced immeasurably by the introduction of several "funny animal" characters (a Disney tradition that has held fast into the 1990s, as witness Pocahontas), and a host of a sprightly songs, including "Cinderelly", "A Dream is a Wish Your Heart Makes", and--best of all--"Bibbidi Bobbidi Boo."

Alice In Wonderland (1951)



1952 Academy Awards: 1 Nominations – 0 Wins
NOM - Best Music, Scoring of a Musical Picture



Alice in Wonderland, which was released in 1951, is based on Lewis Carroll's famous books about the adventures of an imaginative young girl.

It's very easy to examine the pros and cons of Disney's Alice in Wonderland. The best part of the film are its sumptuous visuals. Photographed in Technicolor, the colors in the movie simply leap off the screen. The variety of colors is breathtaking, as is the detail of the characters and backgrounds. The problem with the movie is the story, or lack thereof. Alice is lost in Wonderland and must find her way home. That's about it as far as any linear plot goes. The film is simply a series of vignettes in which Alice meets yet another odd character.

Peter Pan (1953)

Total US Gross - $87,400,000



Although Peter Pan may not want to grow up, the entertainment industry certainly has. Made in 1953, the rather politically incorrect statements referring to Native Americans and the sexist portrayal of female characters would certainly never fly if this film were made today. Still, this time encapsulated Disney masterpiece continues to hook fans. Perhaps it's the animated magic and enchanting music, or maybe it's the classic tale's reminder of youth's simple pleasures that appeals to those who reluctantly outgrew bedtime stories.



Peter Pan has a special place in the realm of classic animated Disney films: it instils an element of child-like wonder. The 1953 version of James M Barrie's story is colourfully told and keeps on the straight and narrow of the book. Barrie's wondrous focus on child's play is the key to its longevity: children who don't grow up, shadows that run away from their owners, pirates, a fairy, and the magic ability to fly. In short, you can't help wishing the adventure would happen to you. Fuelled by a few memorable songs (the stunner being "You Can Fly") and the strong impression of the pixie fairy Tinkerbell and the goofy Captain Hook, Disney's version of this story neither supplants nor lessens the Broadway version with Mary Martin that was produced for television the same decade. Unlike some classics, Peter Pan never ages along the way. - Doug Thomas, Amazon.com